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Baris 13: Setidaknya sejak [[Abad Renaisans]], banyak [[seniman]] dan [[arsitek]] telah membuat proporsi karya sesuai dengan rasio emas—terutama dalam bentuk [[persegi emas]], yaitu perbandingan sisi panjang terhadap sisi pendek sesuai dengan nilai rasio emas—dipercaya proporsi ini secara [[estetika]] sangat ideal. Sebuah persegi emas dapat dipotong menjadi bujur sangkar dan persegi panjang kecil dengan [[rasio aspek]] yang sama persis. Para ahli matematika sejak zaman [[Euclid]] telah mempelajari rasio emas karena sifatnya yang unik dan menarik. Rasio emas juga digunakan dalam analisis [[pasar keuangan]], serta strategi seperti [[retraksi Fibonacci]]. Rasio emas sering kali disebut '''bagian emas''' (Latin: ''sectio aurea'') atau '''rata-rata emas'''.<ref name="livio">{{Cite book\|last=Livio\|first=Mario\|year=2002\|title=The Golden Ratio: The Story of Phi, The World's Most Astonishing Number\|publisher=Broadway Books\|location=New York\|isbn=0-7679-0815-5\|url=http://books.google.com/books?id=w9dmPwAACAAJ}}</ref><ref>Piotr Sadowski, ''The Knight on His Quest: Symbolic Patterns of Transition in Sir Gawain and the Green Knight'', Cranbury NJ: Associated University Presses, 1996</ref><ref name="dunlap">Richard A Dunlap, ''The Golden Ratio and Fibonacci Numbers'', World Scientific Publishing, 1997</ref> Nama lainnya antara lain '''rasio ekstrem dan rata-rata''',<ref name="Elements 6.3">Euclid, ''[http://aleph0.clarku.edu/~djoyce/java/elements/toc.html Elements]'', Book 6, Definition 3.</ref> '''bagian tengah''', '''proporsi ilahiah''', '''bagian ilahiah''' (Latin: ''sectio divina''), '''proporsi emas''', '''potongan emas''',<ref>Summerson John, ''Heavenly Mansions: And Other Essays on Architecture'' (New York: W.W. Norton, 1963) p. 37. "And the same applies in architecture, to the rectangles representing these and other ratios (e.g. the 'golden cut'). The sole value of these ratios is that they are intellectually fruitful and suggest the rhythms of modular design."</ref> '''angka emas''', dan '''rata-rata [[Phidias]]'''.<ref>Jay Hambidge, ''Dynamic Symmetry: The Greek Vase'', New Haven CT: Yale University Press, 1920</ref><ref>William Lidwell, Kritina Holden, Jill Butler, ''Universal Principles of Design: A Cross-Disciplinary Reference'', Gloucester MA: Rockport Publishers, 2003</ref><ref name = "Pacioli">Pacioli, Luca. ''[[De divina proportione]]'', Luca Paganinem de Paganinus de Brescia (Antonio Capella) 1509, Venice.</ref> <!--▼ Other names include '''extreme and mean ratio''',<ref name="Elements 6.3">Euclid, ''[http://aleph0.clarku.edu/~djoyce/java/elements/toc.html Elements]'', Book 6, Definition 3.</ref> '''medial section''', '''divine proportion''', '''divine section''' (Latin: ''sectio divina''), '''golden proportion''', '''golden cut''',<ref>Summerson John, ''Heavenly Mansions: And Other Essays on Architecture'' (New York: W.W. Norton, 1963) p. 37. "And the same applies in architecture, to the [[rectangle]]s representing these and other ratios (e.g. the 'golden cut'). The sole value of these ratios is that they are intellectually fruitful and suggest the rhythms of modular design."</ref> '''golden number''', and '''mean of [[Phidias]]'''.<ref>Jay Hambidge, ''Dynamic Symmetry: The Greek Vase'', New Haven CT: Yale University Press, 1920</ref><ref>William Lidwell, Kritina Holden, Jill Butler, ''Universal Principles of Design: A Cross-Disciplinary Reference'', Gloucester MA: Rockport Publishers, 2003</ref><ref name = "Pacioli">Pacioli, Luca. ''[[De divina proportione]]'', Luca Paganinem de Paganinus de Brescia (Antonio Capella) 1509, Venice.</ref> {{TOC limit\|3}} Baris 66 ⟶ 63: :<math>\varphi = \frac{1 + \sqrt{5}}{2} = 1.61803\,39887\dots.</math> ▲<!-- ==History==

Rasio emas: Perbedaan antara revisi